Academic literature on the topic 'Psychological fiction'

This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.

This study aims to look at the idea that Manto straightforwardly expounded on man and woman’s intimate relationships. Reading fiction, dramatizations and books are similarly impacted personalities of the readers as visual screenplays, Manto's fiction engravings in all accessible mediums of print and electronic although quotes from his fictions likewise broadly tune in and share in online communities. This persistence of his work accessibility and appreciation touched the researcher to deal with his fiction to check its psychological effects on the youth of Lahore. This inquiry is strengthened by the reader-response theory to identify the youth perception and understandings about his fictions and Uses and Gratification for the resolutions and intentions of youth to escalate his work. The quantitative survey method utilized, and data collected with Purposive sampling, 500 respondents were chosen, the findings of the study showed, that Manto's fictions make anxiety and eroticism in youth along with this his fictions create mindfulness about social taboo`s and social associations.

In this paper I argue that a norm of literary fiction is to compel the reader to form beliefs about the world as it is. It may seem wrong to suggest that the reason I believe p is because I imagined p, yet literary fiction can make this the case. I argue for an account grounded in indexed doxastic susceptibilities mapped between a fictional context and the particular properties of a reader, more specifically the susceptibilities in her beliefs, attitudes, and psychological states. Works of fiction can be about different things at the same time, some of which are fictive and some of which are factual. Since belief can be weak or strong, partial or complete, tenuous or robust, opaque or clear, there are susceptibilities throughout a doxastic set out of which new beliefs are formed. Skillful works of fiction exploit these susceptibilities and create new ones. This is an aesthetic achievement of such works: they take what should be a norm-violating practice of belief-formation on the basis of imaginative engagement and they make it so.

عمران اقبال کی افسانہ نگاری میں تانیثی شعور Imran Iqbal's name is prominent in Urdu fiction. He is from Bahawalpur but he is residing in the United States for employment. Imran Iqbal tried his hand at travelogues, fiction, novels and memoirs. He has made women and her issues the subject of his fictions. Imran Iqbal has presented a true picture of a woman who at every step faces various forms of male repressive behavior, outdated customs, husband and father-in-law atrocities, domestic violence and sexual harassment. Her fiction depicts women's psychological problems, the sexual appetites of landlords, capitalists, bureaucrats and top officials. Imran Iqbal has awakened Tanila consciousness through his pen.

This article presents a theoretical framework for an evolutionary understanding of minds and meaning in fictional narratives. The article aims to demonstrate that meaning in fiction can be incorporated in an explanatory network that includes the whole scope of human behavior. In both reality and fiction, meaning consists of experiences in individual minds: sensations, emotions, perceptions, and thoughts. Writing and reading fiction involve 3 sets of minds, those of authors, readers, and characters. Meaning in the minds of authors and readers emerges in relation to the experiences of fictional characters. Characters engage in motivated actions. To understand minds and meaning in fiction, researchers need analytic categories for human motives. A comprehensive model of human motives can be constructed by integrating ideas from evolutionary biology, anthropology, and psychology. Motives combine in different ways to produce different cultures and different individual identities, which influence experience in individual minds. The mental experiences produced in authors and readers by fictional narratives have adaptive psychological functions. By encompassing the minds of authors, characters, and readers within a comprehensive model of human motives, this article situates the psychology of fiction within the larger research program of the evolutionary social sciences.

Communicative features – “author — work of fiction — reader” is analyzed. The psychological typology of subjects of literary process and literary text, on the basis of the differential psychological approach is considered, process of reading from the point of view of psychotherapeutic and pedagogical potential of fiction works is analyzed.

Rajindar singh Bedi was a great writer. He was one of the best fiction writers. Bedi looked at life closely and presented the problems of life in his fiction. His writing style is also unique. Bedi wrote on all topics. He explains the problems of women in his writings. Different forms of women are presented in his stories. Bedi also describes the problems of children and the elderly. The people of subcontinent fought and sacrificed in the pursuit of freedom. All this was witnessed by Bedi and he saw rivers of blood flowing. He saw people were psychologically affected by this bloody situation. Bedi has portrayed their psychological confusion in fiction. Bedi describes minor incidents, common feelings and emotions of people. Bedi is a big name in the golden age of Urdu fiction.

Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.
Department of Architecture

August Diamond is left lost after the sudden death of her father. The stories in Dance Lessons explore the themes of loss and grief, retreat and return, and finding your true self. The collection is a novel in stories, each story exposing another layer of August's past, her family, and their complicated relationships.

A collection of short stories, All Begins to Bloom follows a range of young protagonists living in the greater Los Angeles area. In a time when even the most underground lifestyles are commodified, when Independent media is just another genre, when every mode of living has seemingly been exhausted, these characters struggle to forge an identity in the face of adulthood. From a group of surfers reeling from a careless death ("The Pier") to a young artistic couple brought together by the will to overcome an eating disorder ("All Begins to Bloom"), these stories explore the hollow promises among various subcultures. Instead of finding solace in the possibilities of the future, the narrators often gaze into the past, searching for a lost lesson inside the machinery of an old camera, or a neighbor's memory of the riots of 1992 ("Daydreamers"). Within the confining age of relentless digitization, the fight for human connection is waged. Two brothers, in a string of emails, attempt to make sense of their father's surprising infidelities, exposing the smothered confusions of childhood ("Things Emails Should Not Contain"). In the throes of withdrawal, a young pill-popper is forced to comfort his mother's best friend, a recent widow ("Pharm Boy"). These stories attempt to find an answer to apathy, the unwillingness to care, and to break apart all the defenses one uses to shelter oneself. Whether failing or succeeding, the striving to connect with one another proves to be invigorating.

Set in rural Kansas, this story follows the lives of Jonathan Tate, his sister Lily Anne Tate, and their father, up until his death, Hershall Tate. They are an isolated family, seemingly living outside of time. John opens the novel with a walk into town to set the contrast between him and the rest of the world. Time is the theme and essence, because every scene and the tone of the scenes are weighted by the imminence of Hershall's death. He is dying slowly and so their lives move slowly. Lily can't help but be ornery, while John, assuming all the chores and anxiety of the future without his father, is reserved and reluctant. Hershall is set in his ways and not in a hurry to get the house in order before his death. There is the old-fashioned nature of Hershall, the isolated nature of the whole family, and the rest of the modern world to contend with. These beginning pages are setting up the next stage of the novel where Lily and John begin their journey after their father's death.

For the past decade or so, a shaky aura of respectability has surrounded the genre of science fiction. Recognition as a branch of literature was late coming to what was, and to some extent still is, a confused form of fiction. Critics are still unable to agree on a definition of science fiction; they are no longer even sure what the letters 'SF' should stand for; they argue about its role, relevance and historical origins, and debate its relationship with 'mainstream' literature. What they do seem to agree on, however, is that science fiction is a form of popular literature that offers an alternative approach to the common concerns of the dominant mode of narrative - realist fiction. Having been relegated to the periphery of 'literature' for so long, the realm of science fiction has been largely unmediated by academic criticism and there is still a tendency for some literary critics to dismiss science fiction as childish, escapist and generally unimportant. Kirpal Singh (1983) explains: Various factors have conspired - and I use the term deliberately - to create problems for sf. As is usual in most areas of human intercourse whenever an apparently new and vigorous subject offers itself for exploration, human beings are wont to put up resistance. The literary fraternity ... have time and again given scant attention to sf. Some critics see sf as an inferior form of literary expression and so do not think it worth their time and energy; sf in their minds is associated with Superman, Bug-Eyed Monsters, and Spaceships. They find all this irritating, or at best amusing. There is a tendency - very often expressed in no uncertain terms - to regard sf as juvenile ... not quite the thing for adults and certainly not suitable for the literary critic. (p.106) Not only science fiction, however, has suffered at the hands of literary critics as has been indicated by Stephen Knight in his book, Form and Ideology in Crime Fiction (1980): Literary criticism has shied away from commercial success as a ground for taking a book seriously. Literary critical skills have not been used to study the interests and needs of mass society: they have been turned inwards in a fully ideological way to gratify and ratify the taste - and needs to - of the highly educated minority who validate their position by displaying a grasp of complicated cultural artifacts. (p.2) Marc Angenot has described 'paraliterature' as occupying "the space outside the literary enclosure, as a forbidden, taboo, and perhaps degraded product; against which the 'self' of literature is forged". (in Parrinder, 1980, p.46) Despite the discriminatory 'high' versus 'low' literary dichotomy, it is becoming less necessary to justify the study of popular literary forms. Recent years have seen a stretching of boundaries resulting in a proliferation of essays that address various forms of popular literature, science fiction included, by people from a wide variety of disciplinary perspectives. Most of these studies have approached popular literature as bodies of fictional works with similar themes. They typically focus on such textual elements as plot formula, narrative, characterisation, style and symbolism. Derek Longhurst ( 1989) identifies "a range of largely formalist strategies designed to demonstrate that unlike 'literature', popular fiction was standardized and formulaic, a debased coinage of little 'moral' value, distorting the truths of 'lived experience', time-bound rather than addressing the transhistorical and universal territory of the 'human condition"'. (p.1) Such strategies ignore the actual readers of popular literature and as a result the cultural roles of such texts are not well understood. "A good literary critic should be able to say why a mass-seller works, and how it works. The dismissive certainties of most comments on popular culture do not satisfy these requirements." (Knight, p.2) Popular culture audiences have received quite condescending treatment as many studies have assumed them to be a passive and receptive body upon which ideological content is inflicted. In 1981, Janice Radway, writing about Gothic romances, expressed concern at the lack of theories connecting popular literature and culture: " ... studies characterized by considerable variety in subject matter and method are united by their common assumption that popular literature tends only to reconfirm cultural convention". (p.140) Radway's insistence on shifting attention from isolated texts 'to the complex social event of reading' culminated in her development of an innovative methodology for analysing popular literature and its application to romantic fiction (1984). Having concluded that 'ethnographies of reading' were what was required, Radway set out to discover what it is about romantic fiction that captivates millions of female readers. In Reading the Romance (1984), Radway describes how, instead of focusing on the romantic text alone, she concentrated on the readers' perspective. In distinguishing between the event of reading and the actual text, Radway draws heavily on the work of Stanley Fish (1980) who challenges the notion of text as a fixed object. Although Fish's views imply an impotency of the actual text that deserves to be questioned, his identification of the informed reader as part of an interpretive community that agrees upon interpretive conventions is extremely important. Richard Johnson (1986) advocates the connection of readings with 'lived culture' and the necessity to study the readers' milieu (p.285). While acknowledging the importance of textual analysis, Johnson questions its competence to handle an 'inter-discursive reality of reading'. Longhurst describes this emergence of involvement of the reader as an emphasis on reading 'textuality' rather than the reading of self-contained texts (p.5). It is Radway's model for popular literature analysis that lays the groundwork for this present study, which focuses on the nature of the relationship between science fiction readers and the science fiction text. The objective of this research is to gain a greater understanding of what motivates people to read a particular type of text and to strive toward an explanation for the genre's popularity. Some of the questions to be explored are: what do the readers find particularly interesting and enjoyable about these texts?; what are their criteria for distinguishing between 'good' and 'bad' texts?; and to what extent does the collective enthusiasm exhibited by some readers of science fiction affect the content of science fiction texts? For Radway's Smithton readers, the event of reading was considered more important than any particular novel encountered in the process. Similarly, this study will reveal that reading texts as a member of the science fiction community is more important to the readers than are the individual texts themselves. 'Fandom' is central to science fiction. In a genre long neglected by outside commentators, science fiction fandom has established its own standards of quality (Lundwall, 1971, p.227). Commenting on the social universe of fandom, author Roger Zelazny (1975) writes: ... science fiction is unique in possessing a fandom and convention system which make for personal contacts between authors and readers, a situation which may be of peculiar significance. When an author is in a position to meet and speak with large numbers of his readers he cannot help, at least for a little while, feeling somewhat as oldtime story-tellers must have felt in facing the questions and the comments of a live audience. The psychologbe given some consideration as an influence on the field. (p.11) This subculture of fandom peculiar to science fiction attracts hordes of devotees world-wide. They set up clubs, edit magazines, share a shorthand language of fandom, attend science fiction conventions and take their place in a vast network of correspondence. Ursula Le Guin identifies "a ready audience - ready to discuss and to defend and to attack and to argue with each other and with the artist, to the irritation of and the entertainment and the benefit of them all" (1975). Bob Tucker describes the science fiction phenomenon as "a network of infinite self-analysis and mutual support which is quite unparalleled even in Alcoholics Anonymous" (1975). Such descriptions highlight the existence of an active, socially important subculture. The very nature and extent of communication within the science fiction community, particularly the relatively enormous amount of feedback science fiction writers receive from readers, makes it appear simplistic to explain the proliferation of the different variations of the science fiction literary form as a preoccupation of writers alone. "In the democratic, if incestuous, processes of this subculture, SF readers are more vocal than those of other popular forms, and as a consequence, exercise some influence over writers and publishers." (Mellor, 1984) According to Linda Fleming (1978), in an article titled "The American SF Subculture", A SF subculture originated, developed, and exists today because of the enthusiasm SF arouses in some people, the subsequent commercial exploitation of that enthusiasm, and because both professionals and readers have found belonging to a group a socially rewarding experience for brief or long periods of their lives. (p.290) Fleming prompts the investigation of this network which mediates the reading experience for so many readers and has done so for many years. Sheical process involved in this should poses questions about fandom and the nature of people's involvement in science fiction that have yet to be answered adequately by research. This study will illuminate several of these, accepting Fleming's assertion that modern science fiction cannot be fully understood without understanding the subculture in which so much of it evolved. In order to account for the existence of modern science fiction and its many themes, a review of the field of science fiction will include a brief history of the genre and its followers. The Australian science fiction scene will be examined so that the primary research can be considered in context. Central to this study are the members of the Melbourne Science Fiction Club who, as survey respondents, have expressed what it is to be part of Australian science fiction fandom as no external critic can. The Melbourne Science Fiction Club was chosen to take part in the survey for several reasons: Melbourne is recognised as the centre of Australian science fiction fandom; the Club has a history longer than most others in Australia (it was formed in 1953); the Club meets every week and produces a bimonthly publication; it is a 'general' club, that is, not concerned solely with one particular strand of science fiction, like Star Trek movies; and, most importantly, the members were willing participants. Obviously, members of the Melbourne Science Fiction Club do not constitute a random representative sample of readers of the science fiction genre. They did, however, present an excellent opportunity to test questionnaire design and sample a slice of science fiction's active readership. The survey of readers is supplemented with content analysis of their Club 'fanzine', Ethel the Aardvark, and science fiction texts are discussed as the products of interpretation. Of the great variety of science fiction narrative types, disaster novels are identified as possessing a formula that has proved particularly durable. Discussion of several disaster texts that illustrate the modern evolution of this formula reveals many of science fiction's icons and oppositions that promote regularities in textual readings. While the questionnaire follows a similar format to that designed by Radway, it has proved more appropriate to tap science fiction fandom's correspondence and fanzine network than to hold in-depth discussions with Club members as Radway was able to arrange with the Smithton readers. Science fiction fandom's preference and, indeed, exuberance, for written communication has compensated for some of the problems inherent in being distanced from survey respondents. The reason for choosing to follow Radway's method, aside from its wide acclaim as a useful model for future literary research, is an interest in applying her approach to another genre of popular literature. Radway offers a way of connecting the analysis of texts and structural insights with study of the readers in the texts' wider socio-cultural context. The nature of repetitive reading of various types of science fiction texts becomes particularly interesting when it is considered that fans may be equally, if not more, submerged in science fiction fandom than they are in science fiction.

This thesis deals with the loss experienced by all participants in adoption, especially during the period 1950 to 1980 and with particular, but not exclusive, reference to the birth mother and her child. The work is in two parts, the first being a contemporary novel, 'Heartlines', written in the form of a fictional memoir from the point of view of a woman in her early forties who suddenly is confronted with the daughter she relinquished twenty years previously, and whose existence she has kept secret from her husband. The novel deals with the difficult relationship that develops between mother ann daughter and the adjustments the main character must make in her realisation that the young woman who has come back into her life is not the person she had imagined her to be during the years since she was forced to give her up for adoption. Part Two is an essay that puts into context the cultural background of the period studied, the stigmatisation of women who bore ex-nuptial children and how the society in which they lived left them few options other than to abandon their infants to strangers. It deals with the consequences for young women following a lapse of judgement that would have repercussions for the rest of their lives. Many of the women who relinquished babies during the period are believed to have suffered post-traumatic stress disorder as a result of their experience, and remained in an ongoing state of pathological grief.

Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Study of themes in the novels of Edward Abbey, Lan Cao, Toni Morrison, and Leslie Marmon Silko. Includes bibliographical references (leaves 233-238). Also available for download via the World Wide Web; free to University of Oregon users.

This essay argues that the Gothic novel enacts the material precariousness of its fictional worlds through the psychological disposition, equally precarious, of its characters. In Gothic fiction, the precariousness of characters manifests in psychological phenomena based on dubious information, seductive fantasies, and overpowering affects and emotions. Following a psychoanalytic theory of sublimation, I show that these mental states indicate a physiological-material excess within the subject, and I examine how the character-subjects of Gothic fiction develop in relation to this bodily and material dimension of their being. At the same time, this approach is concerned with the measure of autonomy and self-conduct that characters of Gothic fiction are enabled to maintain in response to precisely this corpo-reality. I will put this materialist approach to the test by examining three of the classics: The Castle of Otranto (1764) by Horace Walpole, Emily Brontë's Wuthering Heights (1847), and Northanger Abbey (1817) by Jane Austen. I hope to show that the Gothic novel forms a test case for us to rethink the ontology of literary characters in both literary and ethical terms, while enabling ways of exploration that may as well apply to other, non-Gothic styles of fictional world-making.

В статье решается вопрос: отличается ли психология человека, попавшего в трудную жизненную ситуацию, в понимании психологов от воспроизведения характерных поведенческих черт героев литературных произведений и как стадии принятия неизбежного реализуются в художественных произведениях. The article solves the question: does the psychology of a person in a difficult life situation, in the understanding of psychologists, differ from the reproduction of the characteristic behavioral traits of the heroes of literary works and how the stages of acceptance of the inevitable are realized in works of fiction.

This article deals with the stories of Vsevolod Ivanov “At Borodino”, “Near the old Smolensk road” and the story “On the Borodino Field”, written in 1943 and forming a kind of trilogy in the writer's work dedicated to the Patriotic War of 1812 and the Great Patriotic War of 1941-1945. The elements of the poetics of texts that unite them into a whole are revealed. For the first time, the historical context of the creation of Ivanov's works in 1943 is analyzed: the actualization of attention to Russian history, and in particular to the war with Napoleon, Soviet propaganda work in the early years of the Great Patriotic War, aimed at covering the events of the people's liberation struggle with foreign invaders in the central press and in fiction. Ivanov's works are also considered from the point of view of the realities of the historical periods of 1812, 1839 and 1941 reflected in them. Possible historical sources of the storylines of the stories “At Borodino” and “Near the old Smolensk Road” are revealed: these are the stories of the heroic Tuchkov family, the creation of a monument on the Borodino field. The methods of psychological analysis used in the trilogy are correlated in the article with the poetics of Ivanov's book “The Secret of Secrets” (1926). The author dwells on the ideas of continuity of Russian and Soviet history, the national-historical origins of the military national feat, emphasized by the writer in the trilogy.

As stated in the specialized studies, the greatest technological discoveries in the history of mankind will be recorded in the next three decades. Progress in Artificial Intelligence (AI), combined with radical discoveries in hard and software, will inaugurate a new era, which today seems to be science fiction. The existence of artificial intelligence, robots, autonomous vehicles, nanotechnology, biotechnology, and materials science are no longer considered "miracles." A recent study by Dell Technologies says that 85% of jobs in 2030 have not yet been invented, and over the next decade, over 10% of current jobs will be automated. In the world's largest industrial air-conditioning plant in China, 800 robots replaced 24,000 workers at Midea. Intelligent military robots are already present on battlefields - the United States, China and Israel, being world leaders in their field use. There are jobs that will disappear and others will be invented, our skills and competences are constantly changing, the labor market is constantly changing, employers will have other specifications in the job description. In this new world, our relationship with technology will change forever. How will we keep up with these changes? How will we deal with them? In this context, we aim to investigate within focus groups what is the impact of accelerated technological progress on youth at the psychological, social and employability level and which would be the solutions that they propose. The target group will be represented by students of the faculty of Electronics, Telecommunications and Information Technology at the Polytechnic University of Bucharest.